Tag Archives: Synaesthesia

Ed Kuepper 2016 performance at MONA features a backdrop that resembles musical synaesthesia

Those arty people at the Museum of Old and New Art in Tasmania are right into synaesthesia.

1 is white and E is yellow.

True.

A Swiss psychiatrist made to look an ass by synaesthete kids. I love it.

 

A. Reichard, G., Jakobson, R., & Werth, E. (1949). Language and synesthesia. Word, 5(2), 224-233.

http://www.tandfonline.com/doi/pdf/10.1080/00437956.1949.11659507

 

Pop singer Alessia Cara describes her synaesthesia experiences on The Project

Alessia Cara. The Project. Ten Network. February 27th 2017.

https://tenplay.com.au/channel-ten/the-project/extra/season-8/alessia-cara

 

 

Artistic talent and super-recognition?

I’ve had my nose in books, as I do, and I’ve read that some great artists had very “vivid” visual memory, which would presumably be a different thing to creativity. Names such as Toulouse-Lautrec and Michelangelo have been cited. So this made me wonder whether I have or once had a level of artistic talent to match my excellent visual memory for faces. I’m not a visual artist. I don’t do visual art as a hobby even. I do enjoy taking photos, but nothing technical or fancy. I do enjoy creating things. I enjoy working with colour. I love going to visual arts events, as you can see from my blog. But I don’t think anyone would identify me as an artist. As a child, I think perhaps people would have. Children are encouraged to express themselves in visual art, and I obliged, as did most kids, and I also enjoyed art enough to do it in my own time at home. I did art as a year 12 subject and enjoyed it but didn’t take it hugely seriously. Perhaps being myopic but never identified as such during my school years limited my ability to draw. Perhaps my ability or interest in art is attributable to my synaesthesia, independent of my face memory ability.

Unlike so many aspects of my childhood, I remember,  in striking detail and vividness, creating art as a young child.  I remember the colours and the names of colours in a large watercolour set given to me as a young child. I remember drawing the intricate wrinkles of my own hand with the other hand at home. I remember the colours of my pencils in grade 1, and the colours of the little dyed wooden shapes we were given to learn about numbers. I remember being laughed at in grade 1 when I showed the class a painting I did at home using perspective. I remember thinking at the time that my classmates were idiots. I remember the simple joy of looking at things, even tiny things or objects of no particular importance to most people. I remember being fascinated and entranced by the structures and colours of found objects such as bird feathers and sea shells. I remember discovering that beach sand is made up of grains that can have striking and vastly different colours: dark brown, bright orange, magenta, white, transparent like glass. As a young lady I got decent marks in art in year 12 and I think my art reflected an ability or a willingness to simply draw what I saw, rather than reproducing some abstract idea of what I thought a tree or a vase should look like. My art teacher said I had ability but failed to develop it, and I think that probably sums the story of my artistic talent.

Are you a super-recogniser? Are you also an artist? Are you a super who is utterly lacking in artistic ability? What do you think? What do you know?

Kinetic 2017 by Orbital

Visual/musical effects in this video clip are a lot like synaesthesia evoked by music. This kind of effect is found quite often in music clips, especially for electronic music, and this type of synaesthesia seems to be one of the more common types, both in terms of how many people experience it and how often it is experienced by individuals. Contrary to what some researchers seem to believe, synaesthesia is not a constant experience. Specific cognitive or sensory stimuli, either from one’s own thoughts or from the world around evoke synaesthesia, and at least for me, not everything that I experience is a synaesthesia inducer, but nothing evokes synaesthesia like good music or interesting music.

Interesting letter from last year re acquired prosopagnosia and the uncanny valley

Editor’s pick: Excluded from the uncanny valley
From Bob Cockshott

New Scientist. Issue 3100. November 19th 2016. p.60.

https://www.newscientist.com/letter/mg23231002-500-1-editors-pick-excluded-from-the-uncanny-valley/

The experience described in the letter seems to suggest that there is more to face recognition than simple memory or faces, or could it be that there are aspects of the perception of faces in particular that make them especially memorable? Faces are easy to personify because they are usually found on people. Perhaps it is the ability to detect the person behind the face that has become amiss in the letter’s author following his stroke, and maybe this ability feeds into face memory? Such a relationship would explain the author’s inability to notice the uncanny valley, and it would also explain why a personifying synaesthete like myself is also a super-recognizer.

P.S.

https://www.newscientist.com/article/mg23230970-500-exploring-the-uncanny-valley-why-almosthuman-is-creepy/

I’ve had a read of the interesting article by Laura Spinney that this letter was a comment about, and I think the Perceptual Mismatch Theory of the Uncanny Valley Effect probably offers a more plausible explanation of my a prosopagnosic might be unable to detect the uncanny valley than the competing Category Uncertainty Theory. The article explained the two theories and evidence supporting them. To summarise, the CUT explains the UVE as the result of confusion about what type of thing one is looking at (for example robot or human?), while the PMT explains the UVE as resulting from unease or perceptual confusion when different features or parts of the thing or being viewed have dissimilar levels of human-like appearance (for example the face and skin look realistic but the eyes do not move like human eyes). I think the case of a prosopagnosic not detecting the UVE when people with normal face perception do is support for the PMT theory rather than the other because as far as I know, prosopagnosia does not involve inability to classify faces or bodies as human or non-human, while I believe there is evidence supporting the idea that prosopagnosia can be the result of not being able to perceptually integrate the features of the face as a whole that is recognizable as a unique or distinctive mix of many attributes and features. A non-prosopagnosic person should be able to perceive a face or body as a whole made up of parts, and notice if one or more elements has a level of humanity that does not match other parts, as in the PMT, while a prosopagnosic might not. Of course, research is needed to investigate my armchair speculations.

Thoughts sometimes turn to food with synaesthesia

Whenever I see the colours chocolate brown and forest green together, in any context, that makes me think of the taste and mouth-feel of chocolate with mint brittle or mint cracknel, as exemplified by the Peppermint Crisp bar:

https://en.wikipedia.org/w/index.php?title=Peppermint_Crisp&oldid=690240217

Whenever I see the colours forest green and white together, in any context, I think of Kool Mints which I believe were produced in those colours when I was a child. I can even get this effect through grapheme-colour synaesthesia triggered by numbers. For example, the street number of a house that I once lived in evokes the concept of Kool Mints.

Whenever is see one of those cute, rounded, new but retro-styled cars with perfect glossy paint in a brownish tint, it makes me think of flavoured rice-cream or some other flavoured milky desert in the applicable flavour for the colour, such as caramel ricecream, coffee cream desert, chocolate ricecream etc.

http://www.cbsnews.com/pictures/worlds-15-ugliest-cars/3/

On the odd occasion when I’m near a helicopter and hear its engine at close range, or hear one operating under a load, that sound makes me think of the uniquely wonderful smell of a steak and onion pie.

Helicopter

I wish, I wish…

I’d love to be reading and writing about fascinating and largely unexplored topics in neuroscience and psychology such as superagers, super-visualisers and aphantasia, but Christmas and all the associated this and that, and the everyday business of parenting in the summer holidays and housekeeping takes up my time.

Interesting to read that aphantasia was apparently first identified by Sir Francis Galton in 1880, even though it has only recently been given the name aphantasia and come to the attention of contemporary researchers. Galton was also one of the earliest researchers to describe various varieties of synaesthesia, before they were all named as such. Galton was one hell of a scientist, back in the days when a man of means could spend his days exploring vast unknown territories of psychology. Is research so different these days? Science is now a bit more open to women researchers, and there’s still much to explore.

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3541673/

https://www.newscientist.com/article/2112820-superagers-with-amazing-memories-have-alzheimers-brain-plaques/

https://www.newscientist.com/article/2104221-superagers-with-amazing-memories-have-shrink-resistant-brains/new

http://www.bbc.com/news/health-34039054

Zeman, A., Dewar, M., & Della Sala, S. Lives without imagery–Congenital aphantasia. Cortex, 3.
https://www.researchgate.net/profile/Adam_Zeman/publication/279234629_Lives_without_imagery_-_Congenital_aphantasia/links/573612f208ae9f741b29cd33.pdf

 

Surprising explanation for why face recognition matures unusually late in human development!

I didn’t expect to be reading this but I can recognize that this discovery seems to explain why face recognition is human cognitive ability that hits its peak surprisingly late in human development, and I’m now wondering how this fits into my theories about the relationship between my super-recognition and my synaesthesia, and that includes wondering how this discovery fits with my immune hypothesis of synaesthesia (which is all about pruning rather than proliferation), and of course I’m wondering how this fits in with what is known about super-recognizers. I guess I should just calm down and read the full text.

Coghlan, Andy Brain’s face recognition area grows much bigger as we get older. New Scientist. January 5th 2017.
https://www.newscientist.com/article/2117259-brains-face-recognition-area-grows-much-bigger-as-we-get-older/

Jesse Gomez, Michael A. Barnett, Vaidehi Natu, Aviv Mezer, Nicola Palomero-Gallagher, Kevin S. Weiner, Katrin Amunts, Karl Zilles, Kalanit Grill-Spector Microstructural proliferation in human cortex is coupled with the development of face processing. Science. January 6th 2017.

http://science.sciencemag.org/content/355/6320/68

 

Sound married to vision is the completely normal and sometimes entertaining way of perceiving the world

I’ve got to laugh on the odd time that I read a description of synaesthesia that makes it sound like some kind of mental disorder or abnormality of sensory perception. Sure enough, synaesthesia concurrents are perceptions of sensory experiences that are not triggered by things happening outside of the mind. They are experiences (not always sensory) triggered by activity happening within the mind (just like the meanderings of your normal constant train of thought). A synaesthete can experience sound as a synaesthesia concurrent triggered by a visual experience (the synaesthesia inducer), and might also experience a visual concurrent triggered by a sound inducer. Coloured music and visual animations that make sound are commonly-reported experiences in people who are, to borrow a phrase from Galton, “sane persons”. It might sound psychedelic to a non-synaesthete, but it is not far at all from normal perception, because life is full of events in which movement or some other visual stimuli is accompanied by a sound sensory stimuli: clapping hands, wind that rustles leaves, lips that speak, impacts that bang, or an explosion that is huge visually, sonically and physically. This pairing of sound and sight is so much a part of normal perception (in humans and other creatures) that it is commonly exploited in live entertainment.

I’ve had the opportunity to work in the past in the live entertainment industry and I also recently enjoyed the rehearsals of the Arcadia musical and special effects spectacular show currently at Elizabeth Quay in Perth. I know that there is a most startling loud roaring sound through the stage speakers that is typically created to coincide with a visual effect of an explosion of flames. It’s like some bloke presses a button somewhere and all hell breaks loose for a second or two. Arcadia uses this flame-roar sound to add sonic spectacle to the flame-thrower, and in the past while working I’ve also heard that sound used in complete isolation from music in a sound check of another spectacular stage show. At the risk of ruining the magic, I’m revealing that the sound that goes with the flames is an artistic artifice. I guess that any real sound that the flame effect makes has been judged to be not sufficiently loud and spectacular enough, and a suitably awesome sound (a recording of what I can only guess) was created to go along with the visual effect of flames from hell. I think this shows just how important crossmodal experiences are to live entertainment shows that are based on spectacular sensory experiences. The sound must equal the visual spectacle.

There are also many other ways in which sound and sight are linked in stage shows and special effects in entertainment. Musicolour lighting effects have been around since my Dad created disco equipment in our lounge using it back in the 1970s, and similar but much more developed lighting effects can be seen in the body of the Arcadia spider. Technology is not always required to artificially marry lighting and sound, as the amazing red and blue man electricity show features electrical discharges that look like tamed lightning that naturally give off a crackling sound along with the white light. But then again, I’m now wondering whether that sound is for real. Anyway, it’s wonderful, mad, sensory fun. I love it!

Postscript January 2017

I think the phenomenon of “quiet fireworks” adds more support to my point that spectacular public entertainment special effects often include the deliberate timing of sound and visual effects to happen at the same time to create a form of artistic synaesthesia, because while fireworks typically have bangs and flashes at the same time, the bang part of the spectacle is not essential or inseparable.

Arcadia Spider

Red man and blue man

Flaming Spider